more positive approach to movies and their “messages,” despite his recognition of film's persuasive powers. Correcting mistakes or problems in these messages is an important role that film theorists should assume as they become what he calls “engaged
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Janet Staiger
—our beliefs, value, and emotional responses to an artwork” (133). Given the variability of experts’ ideological positions, does this inclusion significantly complicate the hypothetical analysis that Berliner is offering? Is the engaged critic a democratic
‘Double Sorrow’
The Complexity of Complaint in Chaucer’s Anelida and Arcite and Henryson’s Testament of Cresseid
Jacqueline Tasioulas
, there is the matter of Henryson’s teasing acrostic, ‘O FICTIO’ (57–63), placed just at the point where the narrator puts down his volume of Chaucer and selects another book, the inspiration for the Testament itself. The acrostic has engaged critics
